Peter Holmström named his solo project Pete International Airport after a song by his other band The Dandy Warhols. Safer With The Wolves... is a meticulously crafted psych rock journey into the dark heart of electronica upon which Peter has enlisted the help of numerous like-minded musical allies. One of which, if you're to believe a certain infamous rock documentary called Dig! (2004) is an unexpected union; The Brian Jonestown Massacre's Anton Newcombe is releasing Safer With The Wolves... on his own record label A Recordings. The album's 11 tracks feature a variety of guest singers and collaborators including Robert Levon Been (Black Rebel Motorcycle Club), Alex Maas (Black Angels), Lisa Elle (Dark Horses), Jason Sebastian Russo (Hopewell, Mercury Rev), Jsun Atoms (The Upside Down, Daydream Machine), Emil Nikolaisen (Sereena-Maneesh), and Jeremy Sherrer (The Dandy Warhols, Modest Mouse, The Shins).

2017 repress. "... out of the vaults of Clocktower Records, comes these musical tracks that were orginally done in the 1960's by Brad Osbourne of Clocktower Records and who is the Executive Producer of all Clocktower Recordings."

"While many of Dennis Brown's later recordings won't be remembered as well as those of his early days, the man that Bob Marley called his favorite reggae singer never really released a disc that wasn't worth hearing. Even during his most turbulent times, Brown brought a caring, spiritual vibe to his music that few others could. I Don't Know is a mid- '90s Clive Jarret/Peter Chemist production that has a more electronic feel to it than Brown's earlier material. Songs such as 'Trod On' and the bubbling 'Give Me the Vibe' serve as good examples of how consistent Brown's music was, regardless of what else what going on his life. Vocalist Onite Boone joins Brown on two tracks ('Should I' and 'Treat Me Bad'). Both work quite well, giving us just a glimpse of what Boone and Brown could do together. Other notable tracks include 'Piece of My Heart,' 'True True,' and 'Fly Away Home.'" --AllMusic

"The partnership of Dennis Brown and Errol 'Flabba' Holt continues to pay rich dividends, for of all the producers the singer worked with across the '90s, arguably Holt was the most sympathetic. Blood Brothers, where Brown joined forces with Gregory Isaacs, was very good indeed, but Holt still had to cater to the latter man's style as well; here he can lavish his attention on Brown alone. The results are awe-inspiring. Backed by Holt's Roots Radics, and with a guest appearance by bassist Leroy Sibbles and drummer Sly Dunbar, the album is driven by modern digitized beats, but boasts the Radics at their richest. The group plunder the Jamaican songbook for old rhythms, reaching back into the past to root out old roots numbers, disinter the beautiful melodies of the rocksteady era, and even cross the Caribbean to plunder the American pop chart." --AllMusic

Q Factors is a mixtape released in advance of the forthcoming new studio album from Amp. It's is a taste of what has gone before and what is still to come. Q Factors opens with the sonic trip beat chaos engine that is "Drowning Mind" mixed by Marc Challans. "Hownow" calms things down with an atmospheric trip hop vibe, a mix by Challans/Amp Studio. "Lost Love Cries", a song by Karine Charff, is given an electronica twist by Chris Smith under the name of Blaubac. Guitar riff grooves return with "Loveflower", given a second airing in this collection in remastered form, a mix by Amp Studio. Donald Ross Skinner supplies the mix of "Just Get it", an edgy stand-off with guitar washes and a lonesome harmonica haunted by Karine's vocals. "D'espoir De Mourir" is lo-fi French minimal techno in a gothic sea, mixed by former Amp cohort Olivier Gauthier. "Waiting Room Blues", a slice of quirky French techno blues, finds a home here. "Push N' Hold" is a mix by Amp Studio, followed by the ambient electronica of "When & Where", a mix by Yellow6. Concluding in the romantic tradition, "Ombres Sur La Lune" floats in like a slice of spacey ambience, mixed by French act Ladder To Royale, Karine's haunting vocals drifting the listener out...

2017 repress. Originally released on CD in 1994 and reissued in 2006, this is the first time Arthur Russell's Another Thought has been released on vinyl. Arthur Russell's Another Thought was first released posthumously in 1994, two years after his death. The tracks date from between 1982 to around 1990, catalogued from over 800 tape reels by Mikel Rouse for Point Music, and produced by Don Christensen. While it is a collection of tracks in various stages of completion, often sparse and direct, it is perhaps the most sonically coherent album ever released of Russell's material. Another Thought includes appearances by trombonist Peter Zummo, percussionist Mustafa Ahmed, additional vocals by composers Julius Eastman and Elodie Lauten, plus Joyce Bowden, Jennifer Warnes, and Steven Hall. Double vinyl in kraftliner sleeves printed in white litho, with art paper inners. Artwork by Jennifer Lucy Allan. This is the first release on Arc Light Editions, a label curated by Jennifer Allan in collaboration with Multiverse Music.

Up next on Arcing Seas is Magna Pia with his second EP after his 2016 debut Incantations on Counterchange (COUNT 007EP). Behind the alias is Hüseyin Evirgen, one half of Cassegrain. ARCS-05 has a clear focus of providing combative dancefloor trips, unorthodox sonic moods with subtle '90s techno references. The EPs track titles "Artemisia", "Semiramis", and "Akasha" pay tribute to three mighty ancient heroines of very different origins. Consequently, Magna Pia continues his interest in combining techno tracks with archaic symbolism.

Noir C'est Noir second volume -- special issue: garage, psych, and prog! A deep exploration of the vast archives of all across Africa for a series of selections of dynamite fusions that have barely been assembled together previously, such as soul, jerk, psych, beat, garage, and others. All cuts reissued for the first time. Noir C'est Noir series hopes to bring joy and satisfaction to the fans of the lost music from all across Africa, from north to south, from east to west. Congo, South Africa, Benin, Tanzania, and so on -- up to 11 different countries from the continent are represented. These recordings were made during the '60s and '70s from a time when African people were willing to celebrate the Pan-African identity within their own conception of music. This second volume of Noir C'est Noir concentrates on garage punk, psychedelia, and prog genres... But there's a lot more to be heard. All the 14 songs reissued here appear to the international public for the first time. Features: Wrong Notes, Narma Samith, Orquestre Veve, Os Rebeldes, Sunny Blacks Band, Vum Vum, Simiao, Tall Enma & His Skipper, Os Impacto, Gino Garrido e Os Psicodelicos, Teta Lando, Os Inflexos, Shar' Habeel, and H2O.

Catherine Ringer needs no introduction. She's the woman who created an inimitable, genre-defying personality who, along with her group Les Rita Mitsouko, had a huge effect on the French pop music scene in the '80s right through to the noughties. In May 2011, she released her first "proper" solo album, Ring N 'Roll (BEC 5772833). Ringer took the magic of Rita's roots but moved it towards something with a more music-hall leaning at its core. After a breath-taking dalliance in Plaza Francia alongside two founding members of Gotan Project, whereby she stepped into the shoes of a tango dancer, oozing elegance and sensuality, Catherine is now back with a second album, Chroniques Et Fantaisies. The larger-than-life record is a family saga played out over 12 musical sketches, from everyday nothings to life's biggest problems. Catherine goes from synth-y cosmic disco (like the opening track "Senior" with its comical lyrics), to disheveled rock ("Como Va"), a steamy slow number ("Intermittent Lover"), and melancholic blues ("Obstination"). The album will take you from laughter to melancholy (the sublime "Tristessa" is a tribute to Fred Chichin), and it'll make you dance and cry. Whether she's singing in French or in English, Ringer's whole range of skills are on display, alternating from playfulness, troubled, melancholic, sweet, and spicy, all with her added brazenness that everyone knows and loves so well. All that plus everything that makes Ringer so magical: her wonderful, defiant, chameleon-like approach set to an eclectic backdrop with a powerful voice that has touched everyone -- including the French pop music scene. It's something you wouldn't know how to do without. Three-sided double LP; Features a spiral design etched on the D side; Includes CD.

French psych duo The Limiñanas present Istanbul Is Sleepy. Reflecting on their collaboration with Anton Newcombe, Lionel explains, "Anton is singing and playing guitar on the track. He was inspired, in particular, by The Cult during their 'Rain' period. Last year, Mojo magazine asked us to record a cover for a special Kinks tribute. We chose 'Two Sisters'. Marie and I were thinking for the vocal part it would be great to approach Anton Newcombe, having opened for The Brian Jonestown Massacre at Le Trianon in Paris. The work began like that." RIYL: Serge Gainsbourg, Brigitte Bardot, France. Also features Emmanuelle Seigner.

In memory of the late polymath avant-garde artist Tony Conrad (1940-2016), longtime friend and coconspirator Charlemagne Palestine returned to the site of their first encounter for a tribute performance on what would have been Conrad's 77th birthday. Charlemagne Palestine is a composer, performer and visual artist born in Brooklyn in 1947. Often labeled as one of the founders of minimalism alongside Glass, Niblock, Reich, Riley, and Young, he prefers to call himself a "maximalist", eschewing the clinical stereotypes of the former term in favor of a full-blown erotics of possibility that in its ritualistic performance conjures a sense of sacredness without specificity. But before the intoxicating overtones of the Strumming Music (SR 297CD, SSH 003LP) for which he is best known, before the stuffed animals and snifter of cognac that have become his trademark onstage, Palestine's first solo performances were as carillonneur of the Saint Thomas Church at 53rd Street and 5th Avenue in Manhattan. From 5:00 to 5:30, every day between 1963 and 1970, Palestine operated the 26-bell carillon, starting with the hymns he was expected to play before shifting into improvised "klanggdedangggebannggg" sessions that would form the basis for his incantatory repetitions to come. Palestine hammered the instrument's keys with his fists and pounded its pedals with his feet, effectively playing the entire building while relishing the corporeal thrill of the ceremony. Soon known as the Quasimodo of midtown NYC, his performances became a sonic mainstay of the neighborhood, attracting a diverse group of fans including Tony Conrad who, then living in Times Square, one day introduced himself inside the church. The artists became fast friends and collaborators, with Palestine recording some of Conrad's work on the carillon and contributing music to his film Coming Attractions (1970). On March 7th, 2017, Palestine climbed the spiral stairs of the Saint Thomas Church's bell tower once again. This cassette features a full recording of STTT THOMASSS ''''"'"DINGGGDONGGGDINGGGzzzzzzz ferrrr TONYYY'''''''', preceded by a brief incantation delivered one month later at a Tony Conrad memorial.

Nothing hurts harder than a surprise ending, and the title track of this album has a real face-slap of one. One minute you're in bliss, carried away in a crescendo of spine-tingling post-rock guitars and soft, wordless "oohs", the next you're through -- the song's out the door, down the street, pulling away from the curb and into a new life. That the overall tone of Jolly New Songs is so anthemic and -- for Trupa Trupa -- uncharacteristically triumphant, only makes having the rug pulled out from under you like this seem so much more cruel, so much more funny. Perhaps the harder the fall is, the more you have to laugh. Gdansk-based post-punk-psych band Trupa Trupa are sodden in a particularly cryptic kind of gallows humor. This isn't just down to some glitch in translation -- it could be in part due to the band's art-rock origins and because their singer and guitarist, Grzegorz Kwiatkowski is an award-winning poet in Poland. And then there's the fact that the band's name roughly translates to "Corpse Corpse". This is The Beatles in a universe where their most famous song was "Tomorrow Never Knows"; a Pink Floyd that split when Syd Barrett's mind did. There is no "Wonderwall" here. Instead there's "Coffin", a uniquely morbid love song that comes in the form of a seriously ear-wormy pop ditty. You can dance to this album -- check out the to-die-for funk groove that propels the Can-like "Falling". You can trip out to it -- check out the psychedelic meltdown that mutates the Wurlitzer fairground music of "Only Good Weather" into something dark and psyche-scarring. Sometimes it sounds like the end of the world (the bleak roar of "Mist"), but sometimes it sounds like the start of a new one (the unashamedly gorgeous "To Me"). The Quietus declared Trupa Trupa's acclaimed 2015 album, Headache (IDA 125CD/LP, XRAY 017CD), to be "their first moment of true greatness. This is incredible work," and suggested that these musicians were on the cusp of a Dog Man Star (1994) or Daydream Nation (1988) -- something genuinely era-defining. Jolly New Songs is that album and it does not disappoint.

LP version. Ignition marks a ferocious kick start of the Berlin based band Scream Of The Butterfly into the crazy world of rock n' roll. Powerful guitar riffs, a tight rhythm section, and versatile melodies topped with a portion of vintage Hammond organ will please the fans of classic '70s rock as well as grunge and contemporary rock. The eight songs, recorded by Kadavar sound-engineer Richard Behrens, are well picked and balanced to deliver the audience some high energy rock tunes combined with a road trip feeling and the solid power of massive riffs closing with an emotional but still powerful ballad. The roughness, drive, and attitude of Ignition is brought to life with the stunning artwork by Branca Studio.

LP version. Limited edition color vinyl. Ignition marks a ferocious kick start of the Berlin based band Scream Of The Butterfly into the crazy world of rock n' roll. Powerful guitar riffs, a tight rhythm section, and versatile melodies topped with a portion of vintage Hammond organ will please the fans of classic '70s rock as well as grunge and contemporary rock. The eight songs, recorded by Kadavar sound-engineer Richard Behrens, are well picked and balanced to deliver the audience some high energy rock tunes combined with a road trip feeling and the solid power of massive riffs closing with an emotional but still powerful ballad. The roughness, drive, and attitude of Ignition is brought to life with the stunning artwork by Branca Studio.

This release from DMX Krew, aka Edward Upton, begins with a tribute from the artist to his father, whose voice is sampled on the track. This acid-inspired track sets the tone for the rest of the EP, continuing to delve into the realms of the 303. The release is only available on vinyl; Limited edition of 300 (hand-numbered).

2017 repress of these undated 1970s recordings, repro of the original Pioneer International version. "The Maytones is still one of those highly regarded names in the history of reggae music and upon listening to what they recorded in the golden era it's easy to see why. Pearl after pearl, the group delivered the goods time and time again. A word like 'timeless' is truly a cliché in describing the sweet two-male harmony sounds of this group, but it fits perfectly when talking of The Maytones work from that period and many other constellations of their ilk. Vernon Buckley and harmony singer Gladstone Grant started what was to become a very successful career as a harmony group back home in May Pen, a town in the parish of Clarendon, and The Maytones was just one of many excellent duos from Jamaica that sprung from the early reggae era, with the difference that they stayed on top for a longer time than most competitors at the time."

2017 repress. "Bringing out his best in these fine tracks.Out of the vaults of Clock Tower has appeared these fine dub mixes such as 'Asian Roots Dub,' 'His Easy Dub', 'I Yah Who Dub' and many, many more.... you will be drawn into the rhythm and feelings of a culture far surpassing music into the future."

2017 repress. Originally issued in 1973, Blackboard Jungle Dub is considered a milestone in the history of dub. Tracks include "African Skank" -- based on Junior Byles' "A Place Called Africa" -- and "Dreamland Skank", "Moving Skank" and "Kaya Skank" which are dub versions of Wailers" "Dreamland", "Keep On Moving" and "Kaya".

2017 repress; 1995 release. "A virtual wizard of the mixing desk, Overton H Brown has been one of the key figures in dub since the late 1970s. Getting his start as a teenager at King Tubby's legendary studio in Waterhouse, Brown was known as 'The Scientist' because his imaginative approach to the mixing desk and electronic gadgetry seemed to derive from magical powers that linked him to some intangible, futuristic realm."

Vinyl edition of two EP releases by C.O.W. ?, a German electronic act and digital art project. Wanting to breakout of the stagnating German pop-culture, C.O.W. ? was founded in December 2015. Their music -- and also their appearance and form -- reflect a new zeitgeist. The identities of their members (experienced producers and musicians from Munich, Berlin, and Beijing) dissolve into the artistic persona C.O.W. ?. They produce and play mostly instrumental electronic music, which spans from obscure jazz interludes to electrified club beats. Their music is accompanied by a strong visual concept. Performing behind 8-bit pixel-masks and utilizing their self-made visuals, they provide for a rich live-experience and unfold the strong persona of C.O.W. ?. Bold, cheeky, and extravagant, these artists created their own genre. It is not easy to label C.O.W. ?, but if you must, you can place them between Flying Lotus and Hudson Mohawke. Exceptional art and sick music. With $hanghai Mone¥ the collective delivers the long-awaited sequel of their first C.O.W. ? EP, originally released in 2016. Remaining true to their distinct style, $hanghai Mone¥ shows a funkier, however darker face of the collective. The drums are heavier and longer, the setup more theatrical. It introduces the listener to autumn, to short days and long nights. This release contains both EPs, showing the two faces of C.O.W. ?.

Cornbread Records present a reissue of Elvis Presley's Elvis, originally released in 1956. The very first rock and roll album to reach #1 on the charts and sell over a million copies, Elvis's debut LP is a classic piece of American music history, from the iconic cover to the unforgettable track listing. Recorded in Nashville, New York, and at the legendary Sun Studios in Memphis, this is The King's most famous moment, a debut LP that changed the course of music history. Reissued here on 180 gram vinyl; Includes download card.

Cornbread Records present a reissue of Elvis Presley's A Date With Elvis, originally released in 1959. When Elvis joined the Army in 1958 his manager, Colonel Tom Parker, and label scrambled for material to release to quell the demands of his maniacal, adoring fans. A Date With Elvis is comprised of singles and unreleased material ranging from his early Sun Records days in 1954 up to 1957. Featuring songs all the way from Bill Monroe and Charlie Feathers, to Lieber and Stoller, this may be a filler singles compilation, but it's all classic material from one of rock's all-time legends at the prime of his career. Reissued here on 180 gram LP; Includes download card.

The long-awaited deluxe special edition reissue of Cosey Fanni Tutti's Time To Tell, originally recorded and released on cassette in 1982, sees a timely release after the success of Cosey's recent autobiography Art Sex Music (published by Faber & Faber). Available now for the first time on vinyl, this deluxe special edition has been remastered and edited from the original audio tapes for this exclusive vinyl release. It is presented here on super clear vinyl, in a gatefold sleeve incorporating a foil block title and is accompanied by a 16-page full-color 12" booklet containing the original cassette transcripts and photos, plus many new and updated statements and color photos.

Dagored present a first ever reissue of Alessandro Alessandroni's Fischio Amore Mio, originally released under the legendary Flipper imprint in 1976. What would "a fistful of dollars" be without Alessandro Alessandroni's whistle? Alessandroni -- not accidentally nicknamed by Fellini "il fischio" -- started his whistling career within Nino Rota's orchestra to then become the hallmark of the spaghetti western era. A collection of astonishing "whistle" pieces by Alessandroni. White vinyl; Edition of 300.

LP version. From his base in Tel Aviv, Gili Yalo is launching a solo career in a new project that combines Ethiopian roots with soul, funk, psychedelic, and jazz music. Yalo, who has collaborated with top music producers Beno Hendler (Balkan Beat Box) and Uri Brauner Kinrot (Boom Pam), incorporates sounds from traditional Ethiopian music into a contemporary music production. The result is an exceptional, rich, vivid melody accompanied by Gili's unique voice with lyrics in both English and Amharic. The music embodies his own personal story, which inspired the rhythm and flow of the whole project. And what a story he has to tell: Operation Moses was the covert evacuation of Ethiopian Jews from Sudan during a famine in 1984. These Ethiopian Jews fled from their native land on foot to refugee camps in Sudan. Together with his family, Gili Yalo made this perilous trip, walked through the desert towards the "Promised Land" and sang to his beloved ones. Gili Yalo's band is made up of five musicians, including guitar, bass, keyboard, drums, and trumpet. An entrancing rhythmic motion is apparent when listening to Gili's music, from the groove, beat and flow, and up to the lyrics, concept and style of the project. Today, Yalo's music gives a new meaning to traditional Ethiopian music. The expression of his story through an advanced music production represents his own personal triumph. Gili Yalo's album combines Ethiopian roots music with a modern touch of jazz and soul. Yalo began writing the songs for his album in 2015 coming from a strong desire to express himself and to send out a message to the world: in order to guide yourself forward you have to carry your roots with you and remember where you came from. Through this album, Yalo has managed to connect his personal history to his current life alongside renowned music producer Uri Brauner Kinrot (Boom Pam) and many talented local musicians who were brought together for this project. Yalo reveals a fresh perspective to Ethiopian culture by using his personal musical influences such as James Brown and Mulatu Astatke to blend the sounds of funk and soul with Ethio-jazz music. The album, like Africa itself, is a rich patchwork of color and rhythm. The sound is influenced by '70s blues, soul, and funk music, with Ethiopian music at the core of the project. Also features Keren Dun.

Limited white label of The Magic Ray's new single (formerly known as Electronicat) produced by Cosmo Vitelli. Includes stellar remixes by Khidja (Hivern Discs, Malka Tuti, Emotional Response) and Simple Symmetry (Disco Halal). Dischi Autunno is a label run by Jennifer Cardini and Noura Labbani.

After his Essenza EP in early 2016, Andy Bros is back with a new release on Diynamic Music. Midnight Love EP is a three-tracker that comes in a picture sleeve. Kicking off is dark and moody title track "Midnight Love", a hypnotic techno anthem. Next up "Family Ritual", a house track with emotive string arrangements, which have been live recorded by Johannes Brecht at Red Bull Studios Berlin. Closing off the EP is "Hilltop Town", a romantic deep house burner for end-of-night moments on the dancefloor.

Novo Line reprises the meter-messing genius of his Movements album (ELP 024LP, 2016) with the Dyad mini-LP. Exclusively using the tools of '88/'89 professional recording set-ups, namely the Atari ST, but with a slight algorithmic alteration. While it's increasingly hard to find new tricks in old gear, especially with the resurgence of hardware fetishism and the ubiquity of DAWs, that's exactly what Nat Fowler has been doing for the best part of a decade as Novo Line. By, in his own words, "misusing one algorithmic composition program (not, by a longshot, a professional music production tool of any epoch) contained in 208kb of data on a 3.5" floppy disk," he generates and explores new permutations of old music which, ironically enough, sounds more innovative than a lot of new music in circulation. Inputting ever-changing parameters of melody, and 29-year old algorithms, the machine's voice is live-mixed and presented un-rendered as maxed-out waveforms via 1MB RAM, resulting in a severely compressed and combusting effect that leave mastering and sound engineers the world over scratching their heads in puzzlement. However, the effect is equally enthralling to anyone whose ears have become overly accustomed to contemporary emulations of "space" in electronic music, and genuinely sound unique in relief of the contemporary field. The release poses a playful question: can a record be ambivalent as to which speed it should be played? Celebrating vinyl and futhermore physical media, the listener is encouraged to find their exact speed of preference with the RPM toggle and pitch slider, that nearly forgotten joy in modifying speed in real time without a CPU mediating between the listener and sound; some tracks stumble heavily at 33rpm like boulders in the tumble dry, while others flash by at 45. In the taut, recoiling thud of "Monad", through the frenetic pop edit of "Ennead" to the 'floor-curdling prong of "Dyad Marcia" on the front, to the forceful new beat mutation "Tetrad", and the mind-bending "Melpomenean Dyad" which closes the LP, the album's heavily challenging, but deeply satisfying gear seriously, yet playfully, messes with convention. Essentially, Novo Line is reveling in the pure spirit of computer music and the sonification of dance music as we know it -- born in the '88/'89 phenomenon of techno-house music, including its industrial/EBM precedents, and its new beat/euro house offshoots. RIYL: Aphex Twin, V/Vm, Not Waving, Powell. Cut at Dubplates & Mastering, Berlin.

2017 repress. Justice's highly-acclaimed debut album from 2007. French-only vinyl version, in deluxe gatefold sleeve. Retreating to their underground post-nuclear shelter/studio, French duo Gaspard Augé and Xavier de Rosnay worked on their first album as if their lives depended on it. The result is a mind-fuck of an album that proves that Justice's unique talent is to be found where least expected. Take for example "Let There Be Light" and its strident, angry electro, driven by a jabbing bassline; "D.A.N.C.E," a pure piece of vicious house sung innocently by a choir of children; "Newjack," a funky parody of the opulent times of the French Touch; "Phantom," taking over where "Waters Of Nazareth" left off to drift towards "Phantom Pt. II" and its head-swirling disco violins; "Valentine," an erotic, melancholic nursery rhyme, like a tribute to Vladimir Cosma and "Tthhee Ppaarrttyy," a pure electro-funk track where the sexy Uffie plays more than ever the cheeky Lolita. Justice have thrown established rules out the window (the notion of good and bad taste, the thin line between underground and pop music, the pigeon hole labeling between rock and electro, etc.) with a fantastic talent for synthesizing and mixing their influences with total candor, be it the cosmic disco of Larry Levan or Vladimir Cosma's panty-wetting romantics, Camel's prog rock or the anxious theme of Goblin for Dario Argento, to the flashy funk of the Brothers Johnson or "ABC" by the Jackson 5. Cross isn't a collection of random dancefloor singles. Cross is for listening at home or in clubs. Cross is a link between pop at its purest and experimental music. Cross brings together hardcore elements and cheese. Cross makes the Goths link arms with the rave kids. A generational manifest, ideally positioned on the side of the dancefloor, Cross, insolent with youth, is a testimony that the French electro scene is healthier than ever.

Martin Kohlstedt's third studio album is a synopsis of development as well as a glimpse into the future. Martin Kohlstedt's opus Strom is a stream of ruthless moments exposing the piano to the elements. Amid the flow of the nine pieces, the composer slowly dissipates and enables the experience of music in its most primal dynamic. One witnesses the transformation of closeness and intimacy into vastness and force and that there is beauty to be found in everything, especially in the ephemeral. Consequently, Strom brings forth manifold forms of itself, appearing hazy and perilous, in the next instant direct, almost playful to ultimately appear awestruck in the face of its own gravity. No distinct answers have been thought of, no measures taken, no interpretation preconceived for Strom. Instead you get the feeling that with Strom, Martin Kohlstedt erected a monument in honor of intuition itself -- even though immutable monuments are not his specialty, quite the contrary. The native Thuringian is known above all for the energy and the unpredictability of his concerts. After two albums featuring just him and the piano, he dropped the deeply ingrained patterns and connections to the instrument alone and developed a new naturalness of playing electronic instruments and effects, as if they were another couple of keys on the keyboard. Strom is Martin Kohlstedt's third studio album and in this a synopsis of this development as well as a glimpse into the future: Before he comes in contact with the audience he comes in close contact with himself -- without any acting or pretending. Sound and structure thereof stand back behind the wish to reach faraway places through the music. By listening closely you follow him -- and his hands that do all the work, meticulously and maniacally at once but still solely with himself after all, just like at his concerts.

Double LP version. Martin Kohlstedt's third studio album is a synopsis of development as well as a glimpse into the future. Martin Kohlstedt's opus Strom is a stream of ruthless moments exposing the piano to the elements. Amid the flow of the nine pieces, the composer slowly dissipates and enables the experience of music in its most primal dynamic. One witnesses the transformation of closeness and intimacy into vastness and force and that there is beauty to be found in everything, especially in the ephemeral. Consequently, Strom brings forth manifold forms of itself, appearing hazy and perilous, in the next instant direct, almost playful to ultimately appear awestruck in the face of its own gravity. No distinct answers have been thought of, no measures taken, no interpretation preconceived for Strom. Instead you get the feeling that with Strom, Martin Kohlstedt erected a monument in honor of intuition itself -- even though immutable monuments are not his specialty, quite the contrary. The native Thuringian is known above all for the energy and the unpredictability of his concerts. After two albums featuring just him and the piano, he dropped the deeply ingrained patterns and connections to the instrument alone and developed a new naturalness of playing electronic instruments and effects, as if they were another couple of keys on the keyboard. Strom is Martin Kohlstedt's third studio album and in this a synopsis of this development as well as a glimpse into the future: Before he comes in contact with the audience he comes in close contact with himself -- without any acting or pretending. Sound and structure thereof stand back behind the wish to reach faraway places through the music. By listening closely you follow him -- and his hands that do all the work, meticulously and maniacally at once but still solely with himself after all, just like at his concerts.

French artist, Max P aka Black Zone Myth Chant, presents the project's most adventurous and urgent dispatch yet, dosing with the unfathomably layered and immersive Feng Shen for Low Jack's Editions Gravats. What was initially intended as a one-away project has now morphed into something powerfully undefinable and strangely affective over the course of two albums, Straight Cassette (2011) and Mane Thecel Phares (2015), an EP and a mixtape, realizing something of a butterfly effect feedback between the gestures of his strangely formed objects and their dilated reception by listeners around the world. For Feng Shen, the artist gleaned inspiration from the struggles of the Sioux people, and their conscientious allies, against the construction of the Dakota Access Pipeline (DAPL) in the United States in 2016. It's an issue that resonated most with his music and the particular lines of philosophy he was reading before recording, particularly Axel Honneth's reading of Frankfurt School leader, Max Horkheimer, asserting that: "The knowing subject and the object are mutually determined from the beginning by the social process of the cultivation of nature, the product of which is the history of the species as a whole." In this sense, Black Zone Myth Chant uses his music on Feng Shen -- meaning "Wind Spirit" -- as a means to model methods of resolution between the physical and the spiritual, or opposing world views. Over the course of eight tracks, he renders a phenomenal space where he can best describe the paradoxical, impossible physics of a psychedelic soul, by toying with the listener's gauge of anticipation, perspective, and temporality with a poetic clash of ideas lent from chopped & screwed hip hop, deep space new age electronics, and liminal club music. Its music, which exists in two states at once, driving yet floating, as with the pull-and-push of pitched-down voices and rolling rhythms in "Their Love For You", or with impenetrable density of clarity in the layered dimensions of "Kubara", following a line that binds kosmische and dancehall in "Under Protest/Telos", to the polymetric harmonic swirl of "War Paint (DAPL Resistance)", and connects the heat-seeking techno impulses of "Ideas In Action", to the center-less ambient panorama of "Feng Jing". Mastered by Matt Colton at Alchemy.

Originally developed as a film score, Takt Der Arbeit is inspired by a handful of industrial and instructional films from the early 1960s until the early 1990s that portray different forms of work. Felix Kubin translates these historic documents into a musical poem of conceptual depth. Takt Der Arbeit - "the beat of work" - is not only serving as a title but also as constructive element in this endeavor. Being hunted down by the ever-accelerated pulse of our reality is an omnipresent issue in capitalist societies of the Western world. Living in times of constant exhaustion, it's not only our bodies that have been disciplined by and synchronized to the rhythms of working processes, but also our minds that rage in the tempo of our surroundings. Following an almost analytical effort, Kubin and an ensemble of three percussionists investigate the different qualities and intensities of time that are catalyzed in working processes. While picking up precise temporal and motoric motives of the films, condensing paces and excavating rhythmic patterns, the ensemble maps out an animist choreography, shifting from a time when labor was still relying on bodily efforts to a time when machines and ticking clocks seem to reign and model human perception. While side A is dedicated to procedures that are still based on manual and mechanical movement, side B is inspired by the digital age, marked by invisible processes and subcutaneous pulses that humans internalize. The result is a critical and poetic reflection on the rhythms of our daily life and yet another example of Felix Kubin's skills as a composer, placing him in the field of orchestral music. Works commissioned by NDR das neue werk (North German Radio). Personnel: Felix Kubin - organ, electronics, sampler; Mi?osz P?kala - vibraphone, xylophone, sampler, percussion, effects; Magdalena Kordylasi?ska - marimba, percussion, effects; Hubert Zemler - glockenspiel, drums, percussion. Artwork by Stephen O'Malley; Engineered by Robert Migas; Mixed by Tobias Levin; Mastered by Rashad Becker at Dubplates & Mastering, Berlin.

On her latest release, Chra, aka Christina Nemec, sketches out a psycho-geographical map that guides you to the border of the internal and external world -- On A Fateful Morning lets you enter a sphere where the imaginary and the subliminal cross. Evoking abstract images that transcend reality, Chra installs an autarchic time-and-space continuum of vague, nocturnal beauty. Pastose bass drones, airy ambient synths and processed audio samples form a hypnotic stream that lets you enter an altered state of mind. By subtly intertwining musical and non-musical sounds, Chra weaves an intensely atmospheric, poetic tableau of emptied spaces left to the listener's imagination. It's the pulse of arcane memories that is filling these sonic landscapes, operating deep within the subconscious. On A Fateful Morning is haunting music to play in the dark -- conspirative, uncanny, with a dystopian smack. Artwork by Susi Klocker. Recorded and produced by Christina Nemec in Vienna and Horner Wald, 2016; Mastered and cut at Dubplates & Mastering, Berlin 2017.

First outing for this collaborative effort from the prolific Posh Isolation mainstay Loke Rahbek and Frederik Valentin of KYO, also on the revered Danish label. As old friends circling around the same scene, this is the first time they have combined their respective perspectives. The results are an ambitious aquatic infused audio environment. Recorded near water at Valentin's studio within the vicinity of the new aquarium in Copenhagen, Buy Corals Online channels the sensual floating aspects of such environments. "During Japan's Edo period (1615-1868) the phrase 'the floating world' (ukiyo) evoked an imagined universe of wit, stylishness, and extravagance -- with overtones of naughtiness, hedonism, and transgression. Implicit was a contrast to the humdrum of everyday obligation. The concept of the floating world began in the Japanese heartland, migrated eastward, and came to full flower in Edo (present-day Tokyo), where its main venues were popular Kabuki theaters and red-light districts." --Wikipedia Buy Corals Online arrives as a suite of works embracing the joy of being close to something you don't require interaction in order to experience. This enchanting aquatic infused audio hovers a sensual world rich in sensory experience. Loke Rahbek and Frederik Valentin's debut outing conjurer's a world both sensual and abstract as it moves casually alongside fantasy. Recorded 2016 & 2017, Copenhagen S, Natfabrikken. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin, Germany 2017.

LP version. 180 gram vinyl. Hermeto Pascoal is a true maestro and a cultural icon. He represents the highest level of musical evolution; as a multi-instrumentalist, a composer, and an arranger. Once described by Miles Davis as "the most impressive musician in the world", there is good reason (beyond his Gandalf-like appearance) why he is known as "O Bruxo" ("the Wizard"). For Far Out Recordings' 200th release, the label present a previously unreleased album by Hermeto Pascoal and his Grupo Vice Versa: Viajando Com O Som, the lost '76 Vice Versa Studio Sessions. Recorded in two days in 1976, at Rogério Duprat's Vice Versa Studios in São Paulo, the sessions featured Hermeto's go-to "Paulista" rhythm section: Zé Eduardo Nazario (drums), Zeca Assumpção (bass), and Lelo Nazario (electric piano), as well as saxophonists Mauro Senise, Raul Mascarenhas, and Nivaldo Ornelas, guitarist Toninho Horta, and vocalist Aleuda Chaves. Hermeto decided he would record with this particular group following a show at Teatro Bandeirantes, during which an almost spiritual musical connection amongst the group was realized. The performance lasted for hours, without any breaks, and Hermeto saw the potential for his compositions to reach a "higher level" as the music organically moved from structured compositions to "freer" improvisational works. In the studio, the sound engineer Renato Viola understood that things needed to happen quickly. Almost everything recorded on the first take ended up staying in the final mix. After the mixdown, Lelo Nazario would ask Renato to make him a copy of all the material. Supposedly, the master tape was lost, but Lelo kept his copy in his studio's archives, where it stayed for over forty years. With the tape rescued and restored, this release fills a void in time. Recorded at an especially experimental period in Hermeto's career, it's a compelling insight into the incredible efforts of this group, who created a unique musical language which would have a profound influence on countless artists to come. The 1970s are considered a golden age of Brazilian music, but it's often forgotten how desperately hard it was for artists to get their music past the military dictatorship's censorship efforts. Yet in 1976, despite the often musically radical nature of Hermeto Pascoal's compositions, he was typically productive. The release of Viajando Com O Som re-writes the already remarkable story of one of the world's most supernaturally talented musicians.

Swedish artist UBX127 is back on Figure with Void EP. Gently pulsating crystalline opener "Void" carefully sets a vast open scene, covered in gushes of interplanetary winds. First contact is made on "Isolate & Identify", its electro-esque drive and spiky synths hinting at its alien origins. A taste of their mighty technology is given on "Watch Out Below", booming with a propulsive punch and constantly swelling in intensity. Relief comes in form of "Singularity", a beautiful, long-winding closer, on which soothing arps effortlessly outweigh their beat-y counterparts.

The Third in Full Pupp Splits' series of disco/acid boogie edits -- old and new. It's best to let the music speak for itself. More hotness and hot mess just around the corner. Features Doc L Junior, Frantzvaag, Magnus International, and Prins Thomas.

The 52nd Gem Records release comes from the exceptionally skillful hands of Eitan Reiter. Label boss Secret Cinema has had an ear on Reiter ever since his prolific Reflections Of Nothingness album in collaboration with Sebastian Mullaert (MUSIQ 045CD/179LP, 2014). Gem Records release this three-track Flux EP which features PRZ, Barak Rosen, and Ben Kirschenbaum.

"Wu-Tang Clan struck Gold (and then Platinum) with their debut Enter The Wu-Tang (36 Chambers). In addition to astronomical sales, the release has been dropped into list such as NME's Top 100 Albums of all Time, Pitchfork's Top 100 Albums of All Time, Q's 90 Best Albums of the 901s, Rolling Stone's 500 Greatest Albums Of All Time and 100 Best Albums of The 90s, Vibe's 100 Essential Albums of the 20th Century and the Source's 100 Best Rap Albums. And that's the short list of lists. Get On Down will now be issuing every single cut from Enter The Wu-Tang as a 7" single."

"Wu-Tang Clan struck Gold (and then Platinum) with their debut Enter The Wu-Tang (36 Chambers). In addition to astronomical sales, the release has been dropped into list such as NME's Top 100 Albums of all Time, Pitchfork's Top 100 Albums of All Time, Q's 90 Best Albums of the 901s, Rolling Stone's 500 Greatest Albums Of All Time and 100 Best Albums of The 90s, Vibe's 100 Essential Albums of the 20th Century and the Source's 100 Best Rap Albums. And that's the short list of lists. Get On Down will now be issuing every single cut from Enter The Wu-Tang as a 7" single."

Previously unreleased DIY homemade psychedelia, teen beat, and fuzz-psych/prog by the amazing Swedish band Cymbeline, recorded from 1965-1971. Tracks like "Third Image" or "Look At The Stars" are an incredible find for anyone into US garage-psych (they wouldn't sound out of place on any Pebbles or Psychedelic Unknowns volume) and others like "Flicka", "Stolta Vingar", or "Mittuppslag" are top-notch, '70s fuzzed-out Scandinavian psych/prog. Formed in the industrial town of Norrköping in the mid '60s, Cymbeline (also known as Motala Ström and W&J) only released a 45 in 1971 before breaking up. But during their existence, the band recorded a lot of stuff, included here for the first time along with their rare 45. Cymbeline was basically two guys, Michael Journath and Anders Weyde, who met in 1965 while they both played in beat bands. They started recording songs at Anders's little home studio with help with some friends, and that's how songs like "Imagination" and "Look At The Stars" -- amazing examples of homemade teen beat -- were born. At the same time, Michael and Anders were feeling a bit tired of playing cover versions with their beat bands, so they decided to start recording more experimental stuff, using armchairs and furniture as percussion, sounds from seagulls and birds, an electric cocktail mixer, and improvising lyrics -- these incredible experiments were recorded as "Images", including the killer garage-psych sounding "Third Image". As the years passed by, the home studio improved and new songs were recorded in a more psych-prog vein, some of them included here. They also played a few live gigs with some help from other local musicians. In 1970, Ulf Ryberg joined the group and soon after a 45 was released containing his song "New York". The flip side was "Sixth Image", originally one of the "Images" but rearranged and re-recorded (1971). In 1971, demos for an LP were recorded at Europafilm Studios in Stockholm. Two fantastic songs are included here and the sound is different from the earlier recordings -- closer to the groups live performances. So, 40 years later, here is the LP that Cymbeline always dreamed of. Remastered sound; Insert with photos and liner notes by band member Michael Journath.

Bristolian producer Drone makes his debut on Hear Other Sounds with Flux/Arctic, a two-track grime offering. "Flux" leads with an unwavering combination of hypnotic synth melodies and intricate percussive arrangements with a sub rich bassline. The B side "Arctic" is an atmospheric piece, which showcases Drone's versatility and creativity. Fervent basslines, robust drums, and harmonic synths are a theme throughout the project.

One-off collaboration between New York's live band Sontag Shogun and Japan's wistful minimal electronic songstress, Moskitoo. The double A side presents a unique take on post-classical, as piano and vocals are treated through various tape and electronic processing forms a remarkable minimal work of evocative beauty. Mastered by Lawrence English. Features cover art using the sculpture work of Stephen Somple.

With its cathedral-like, richly resonant acoustics, the new Hypnotic Brass Ensemble album Book Of Sound is a brilliant expression of this interplanetary principle. The album is by turns urgent and contemplative, funky and reflective, varied in its textures; but entirely of one piece. Underpinned by concepts of earth's place in the cosmos, held in place by meditation, swirling with notions of history, science, theology, ancestry, there is a rich conceptual brew here. The album rings with what back in the 1950s the jazz critic Whitney Balliet called "the sound of surprise". Book Of Sound makes you believe again in the validity of "spiritual jazz". Talking to Cid, one of the Ensemble's two trombonists, one phrase recurs: "back to the beginning". "We wanted to go back to the beginning, when we were kids, real young, and our father would wake us up at 5AM to practice for two hours before breakfast." One outcome -- initially unplanned but subsequently embraced -- is that unlike their two previous albums on Honest Jon's, this is an album without a drummer. "When we started, as Wolf Pack, just brothers on the street with our horns, there wasn't a kit in sight." Book Of Sound retains plenty of rhythmic heft, but the absence of a drummer opens up space for a notably varied instrumental palette. Acoustic guitar, piccolo, synthesizer, alto sax -- all have their place on the album. Most striking perhaps are the vocal lines that thread through the album and give it a palpable warmth. Sessions were recorded in Brooklyn and Chicago, and brilliantly mixed at Abel Garibaldi's studio in the Loop, and it's the Hypnotic's hometown that permeates. For Cid this is a deeply Chicago record: "It's got the vibe of the lake, the vibe of the prairies opening up to the west." It also has the vibe of those Sun Ra Arkestra albums recorded in Chicago in the 1950s, and -- of course -- the Phil Cohran albums from the 1960s. It's Phil Cohran (the father of all seven members of the Ensemble and their first teacher, and not just in music) who is the album's guiding spirit. For Cid it's a major regret that, in the months before their father's death early in 2017, Phil was not well enough to play on the album. But Book Of Sound is a magnificent testament to their Cohran legacy.

Double LP version. With its cathedral-like, richly resonant acoustics, the new Hypnotic Brass Ensemble album Book Of Sound is a brilliant expression of this interplanetary principle. The album is by turns urgent and contemplative, funky and reflective, varied in its textures; but entirely of one piece. Underpinned by concepts of earth's place in the cosmos, held in place by meditation, swirling with notions of history, science, theology, ancestry, there is a rich conceptual brew here. The album rings with what back in the 1950s the jazz critic Whitney Balliet called "the sound of surprise". Book Of Sound makes you believe again in the validity of "spiritual jazz". Talking to Cid, one of the Ensemble's two trombonists, one phrase recurs: "back to the beginning". "We wanted to go back to the beginning, when we were kids, real young, and our father would wake us up at 5AM to practice for two hours before breakfast." One outcome -- initially unplanned but subsequently embraced -- is that unlike their two previous albums on Honest Jon's, this is an album without a drummer. "When we started, as Wolf Pack, just brothers on the street with our horns, there wasn't a kit in sight." Book Of Sound retains plenty of rhythmic heft, but the absence of a drummer opens up space for a notably varied instrumental palette. Acoustic guitar, piccolo, synthesizer, alto sax -- all have their place on the album. Most striking perhaps are the vocal lines that thread through the album and give it a palpable warmth. Sessions were recorded in Brooklyn and Chicago, and brilliantly mixed at Abel Garibaldi's studio in the Loop, and it's the Hypnotic's hometown that permeates. For Cid this is a deeply Chicago record: "It's got the vibe of the lake, the vibe of the prairies opening up to the west." It also has the vibe of those Sun Ra Arkestra albums recorded in Chicago in the 1950s, and -- of course -- the Phil Cohran albums from the 1960s. It's Phil Cohran (the father of all seven members of the Ensemble and their first teacher, and not just in music) who is the album's guiding spirit. For Cid it's a major regret that, in the months before their father's death early in 2017, Phil was not well enough to play on the album. But Book Of Sound is a magnificent testament to their Cohran legacy.

Tåke (Norwegian for "mist" or "fog") was inspired by Guy Andrews's visit to Scandinavia in 2016. The London-based artist, known for creating dark atmospherics and brooding aural landscapes, weaves textures and soaring rhythms with energy and restraint, exploring the space around him. Guy works with musician Alev Lenz on the haunting and stunning track "The Clearing" and the sinister and pulsating "Feelings". Lenz's music was recently featured in the final episode of Charlie Brooker's third season of Black Mirror. His discography includes music for Hemlock, Erased Tapes, and Hotflush, gaining support from BBC Maida Vale plus tastemakers such as Massive Attack, Bonobo, Mary Anne Hobbs, Ulrich Schnauss, and Max Cooper. Andrews created the soundtrack for world-renowned photographer Nadav Kander's film Wake The Town (2014). The artwork features an oil painting commissioned by the celebrated painter Jake Wood-Evans.

After 2016's widely appreciated 12", the Estonian musician/producer Ruutu Poiss returns to his minimal funk and leftfield synth-pop roots releasing a debut EP on International Major Label. The six selected home recordings, from 2011-2016, reflect almost a chronological and kaleidoscopic journey through the authors musical explorations, instrumental storytelling, and unique sound design. From subtle vocals to vicious toms; celestial soundscapes over restless rubbery bass; shimmering synths over polyrhythmic structures -- an environment of romantic futurism and organic transformation appears, surrounded by a warm psychedelic sound palette.

African jewels for the dancefloor! The African soul is here, insinuating its capacity for involvement and emancipation all the African territories. Not only Nigerian or Ghana music "had" it -- These ten tracks of Afro-funk, boogie, and soul are full of hypnotic grooves, like a mantra made for the dancefloor. Every track is worth the dive, All cuts are reissued for the first time ever. Suspend real-world time, paving the way for another way of absorbing dance music. Get ready to hear and penetrate deep into the admirable atmosphere of Zou Zou Zou! Features: Jo Bisso, François Lougah, The Movers, Ngaydo Ba, Joe Mensah, Kapingbdi, Carmen Ezumah, Eliott, Geoffrey Oryema, and Les Black Styl.

LP version. Livingstone Studio present the first official reissue of Grotto's Grotto II: Wait, No Hurry, originally released in 1979. "Odion Iruoje was the A&R manager at EMI at the time,' Benson says, 'and he auditioned us, liked the material and signed us.' Odion Iruoje of course had groomed and produced Ofege. Now he was looking to repeat the formula with other high school groups such as Tirogo, Apples and Question Mark. Grotto's deep rock would be a welcome addition to this 'schoolboy rock' series. Work on their album started immediately, with Iruoje in the producer's chair. Adapting to the tastes of the times -- as well as their own maturing musical sensibilities -- Grotto started transitioning from acid rock towards sleeker, more dance floor-friendly grooves. 'As I grew older I think I got a bit jazzier,' Benson says. 'I also listened to Curtis Mayfield, James Brown, Isley Brothers, Prince and a lot of funk groups from that era.' 'Hard rock was the content of the first album,' Amenechi agrees, 'and funk/jazz/R&B the focus of album number two. Especially with the late Toma Mason Jr. joining as bassist.' The group's second album, Grotto II: Wait, No Hurry (released in 1979) reflected the growing sophistication of its members' musical outlook. Fat, funky bass grooves rubbed shoulders with jazzy flute lines; space-age synthesizer tones punctuated good, old-fashioned crunchy rock riffs." --Uchenna Ikonne Liner notes by Nigerian Music expert Uchenna Ikkone; includes previously unpublished photos and extensive interviews by Temitope Kogbe.

Berlin-based, Japanese industrial synth duo Group A's debut on Mannequin Records. Tommi Tokyo and Sayaka Botanic released two studio albums and one live album in Tokyo before moving to Berlin in 2016. With their mixture of dark minimal synth, avant-noise, striking visuals, and performance art, the duo carries the very breath of early industrial pioneers. "T.O.P." and "Ketabali" represents their personal reaction against the current economy -- an up-yours to capitalism, news, and politics. "Alibi" was inspired by an autobiography of Hi-Red Centre (Japanese avant-grade group in the '60-70s) written by one of the members, Genpei Akasegawa.

"A Fading Virtue By Passing Time is a familiar cocktail served in an oddly shaped glass. The pulse of Laurine Frost's music is, on the one hand, in the mould of a Perlon record, but the Hungarian's studio technique leans towards electroacoustic composition. Frost's bristly sound design is unsettling because it's so bare, but it's also present in a way that feels intrusive -- each piece of clanking percussion is a guest at a party standing a little too close to you. The gloopy drums and rich bass of 'Marionette Manifesto' have a velvety touch to them, and together they stir a sticky, hypnotic groove out of very little The song's other textures, however, range from unsettling to 'what the fuck?' dungeon groans, helicopter blades, kazoos: it's all happening. 'Viburnum Opulus' uses the same suite of drums and some Star Trek lasers to wriggle into your personal space. It's engrossing, but I'm not sure it's quite worth 11 minutes of your time. I could have used more of 'Virtue' though, an earthy four minutes of jittery bass and marching snares that sounds like a jazz ensemble in an airing cupboard." --Ray Philp, Resident Advisor

"Marionette wanders through the polyrhythms and shifting harmonics of Benjamin Kilchhofer's Dersu. This is an expedition into modular synthesis and physical modelling, where patches become complex instruments, and the instruments become music. Kilchhofer composes the 4th Marionette instalment, enveloped in a film of spring reverb and tube distortion."Philip Sherburne on "Bittern": "Like all of the tracks on his new mini-album for Toronto's Marionette label, Benjamin Kilchhofer's 'Bittern' blurs the line between synthesis, rhythm, and environmental sound. At its core is a hypnotic drum pattern, resonant and wood-grained but also eerily exact, like a drum circle located deep in the uncanny valley. Rhythmic figures compete for possession of the downbeat; the nature of the pulse is largely a question of perception, as rippling refrains circle each other like the strands of a double helix, perpetually stepping on each other's toes. The sense of wandering through an ingeniously designed digital simulation is heightened by the sound effects that drift through the space of the track: laughing voices, syncopated claps, splashing water, the metal creak of what might be a swingset. You imagine a children's playground in a jungle clearing -- or a biodome. The sense of freedom is a direct result of how the music was constructed, with Kilchhofer programming complicated patches on his modular synthesizers, generating music that morphed and mutated as if of its own accord. The goal, says Marionette founder Ali Safi, was to create 'a living system which breathes and evolves.' With virtual environments like his, who needs holodecks?"

Mental Experience present the first vinyl reissue of Lady June's Linguistic Leprosy, originally released in 1974. The legendary debut album by Canterbury scene pivotal figure, performance poet, painter, and experimental musician June Campbell Cramer, better known as Lady June. Produced by Kevin Ayers, who also plays on the album along with Brian Eno, Pip Pyle (Gong, Hatfield And The North), and David Vorhaus (White Noise). Originally released by Virgin's budget imprint Caroline (home also of artist like Faust With Tony Conrad, Gong, Lol Coxhill, etc.), Lady June's Linguistic Leprosy is a surreal, eccentric, psychedelic oddity of interest to fans of the Soft Machine-Gong-Canterbury family as well experimental/sound poetry/art-rock explorers. This cult album was included on the legendary Nurse With Wound list. Remastered sound; Insert with photos and liner notes by Ayers archivist Martin Wakeling. RIYL: Gong, Catherine Ribeiro, Laurie Anderson, Boards Of Canada, Mopsie Beans.

Mental Experience present the first ever collected works of Guatemalan electronic experimental musician Emilio Aparicio, collecting five 45s he released from 1969-1971. Aparicio was an, a pioneer in using the Moog synth in Latin America. He released a series of private 45s, recorded at his home studio in collaboration with his patron and producer, the painter Roberto Abularach. It is from 1969-1971, when the recordings included here, were registered. Most of the tracks were written at the country house of Abularach, where Emilio built his own home recording studio and where he spent long periods of seclusion. It is in this house where they also spent weeks experimenting with hallucinogens (LSD and datura) in the company of other artists from the underground arts scene of Guatemala. The fruit of those two years of experimentation were released in less than one month as five volumes of a 45 housed in a generic picture sleeve and titled Música Electrónica ("Electronic Music"). These strange records were given away in exchange of four corks of a local drink called Salvavidas Roja, related to Abularach's family. Most of the 45s were destroyed and recycled and soon after Emilio created another experimental project, La Banda Plástica. Aparicio's music is a fascinating blend of primitive homemade electronics with Latin influences. Imagine "Psyche Rock" era Pierre Henry (1970), Gershon Kingsley, and Bruce Haack meeting Joe Meek at the Guatemalan jungle. Emilio Aparicio passed away on 2012. Remastered sound; Insert with rare photos and liner notes by Ruffy Tnt (Discodelic)."In 2010, I was searching for old records in the city of Quetzaltenango in Guatemala. I found myself in a dusty basement which had been in another time the warehouse of Iximché, a rock-o-la machines distributor. It was an exciting discovery, two big rooms full of old 45s but also dust and rat's dung. Among some incredible finds, I found two strange private 45s which had been released by local drink company. The song titles, 'Brujería' ('Witchcraft') and 'Transmutación del iniciado' ('Transmutation of the initiated') matched perfectly with the abstract psychedelic/electronic instrumental Moog sounds emanating from the grooves. I was fascinated and I knew I had a mission: to discover and tell the world the story behind Emilio Aparicio Moog. After seven years, I finally managed to locate all of his recordings, eight in total." --from the liner notes by Ruffy Tnt (Discodelic)

2017 repress. An impossible to find album, reissued for the first time ever on vinyl. 1979's Sei Note in Logica is Italian experimental composer Roberto Cacciapaglia's second LP, a minimalist album that features one continual composition "for four voices, computer, and orchestral ensemble," in the same vein as Fred Rzewski, Steve Reich, and Terry Riley. Unlike anything else coming out of Italy at the time, Cacciapaglia (who worked for Italy's national Department of Phonology) was also quite advanced in his use of computer-based technology. A major influence on the likes of Jim O'Rourke and others of his ilk. Presented on 180-gram vinyl with a bonus CD containing an acoustic version of the entire album.

John Dominic and Gary Thomas formed the R&B group The Roadrunners in 1963. They developed a line-up that also included Dick Connor on bass (replaced by Dave Cameron), Bob O'Brien on keyboards, and Nigel "Hutch" Hutchinson on drums. They soon changed their name, taking the name of London's first police force, the Bow Street Runners, and giving it a Bo Diddley twist -- hence: the Bo Street Runners. In 1964, the group recorded a four-song EP issued on the Oak label. The band entered in Ready Steady Win, a beat group competition organized by the producers of the Ready Steady Go! TV show. The group won the competition and received an array of prizes, including musical instruments, booking agency and publishing contracts, and a Decca record deal. Decca released the group's debut single. Soon, Bob O'Brien and Hutch Hutchinson dropped out, and Roy "Fingers" Fry and Glyn Helson Thomas stepped in. They also added sax player Dave Quincy. The group moved to Columbia for their next 45. Produced by Mickie Most, the disc paired two James Brown numbers. The single flopped and Quincy, Fry, and Thomas exited in rapid succession. Tim Hinkley became the band's new organist, and shortly afterwards they located a new drummer, a teenage beanpole by the name of Mick Fleetwood, who had been playing with The Cheynes. "Baby Never Say Goodbye", their first single under this line-up was released in June 1965. It got a lot of pirate radio airplay but was doomed by a pressing plant strike. Fleetwood returned to The Cheynes, soon replaced by Alan Turner. Singer John Dominic also decided to quit, soon to be replaced by the talented Mike Patto. Patto also brought along a new drummer, Barry Wilson. This line-up recorded what would be the Bo Street Runners' final single in 1966. The Beatles' "Drive My Car" was a good fit for the group's sound, backed with the mellow "So Very Woman". In October of 1966, the group disbanded. Mike Patto's storied career included stints with Timebox, Spooky Tooth, and Boxer before dying in 1979. Tim Hinkley played with prog rockers Jody Grind, and of course their one-time drummer Mick Fleetwood became a superstar. Exile On Bo Street celebrates the band's early years and the 1964-66 heyday of British R&B heroes the Bo Street Runners.

Growing up in the town of New Rochelle, New York, young Andy Cahan was also a gifted piano player with a good musical ear. Like thousands of American kids, his life changed forever when The Beatles debuted on the Ed Sullivan Show in 1964. His first surf band The Jaguars became The Tokays, named after a brand of sweet white Hungarian wine. The group started to play some of Andy's original material, inspired by The Beatles and other British invaders like The Zombies and The Dave Clark Five. One of those tracks, the plaintive minor-key ballad "Where Young Lovers Go", is included here. Soon after, Andy traded his Thomas organ for the new Farfisa Combo Compact red organ. He purchased Beatle boots, as did his bandmates, and they changed the name to The Individuals. The group found time, in between band contests, to go into the studio in 1965 and 1966 to record demos -- most of which can be heard on this album. The Individuals broke up around 1967 when Larry Kramer elected to go to college rather than pursue music full-time. Andy, Sandy Reiner, and Reno Franze reconfigured as The Boys In Dutch, adding Jerry Delesio on guitar, and gigged around New York throughout 1967. After that band ran its course, Andy decided to start a new project, Euphorian Railway, with Reno on lead vocals, Vinny Derminity on guitar and vocals, Ken Lennington on bass and vocals, and Frank McConville on drums. Euphorian Railway cut an album's worth of original material in one five-hour session in March 1968 and. Five tracks are featured here, including dynamic new material. The influence of The Rascals is strong, especially in Reno's impassioned Eddie Brigati-like vocals, but Cahan's electric harpsichord provides some distinctive touches. The band was short-lived. In the summer of 1968 Cahan relocated to Los Angeles, where he quickly made a name for himself as a keyboard player and arranger, working with such people as Graham Bond, Dr John, Chuck Berry, Little Richard, Harry Nilsson, and Flo & Eddie of The Turtles. He was also a founding member of Geronimo Black, along with ex-Mothers Jimmy Carl Black, Denny Walley, and Bunk and Buzz Gardner, and one-time Love member Tjay Contrelli. As for his Johnny Farfisa alias, that originated with David Gibson of Moxie Records, who in 1980 released an EP of The Individuals' mid-60s recordings titled Johnny Farfisa's Greatest Hits.

What Mortazavi and Burnt Friedman have in common is their shared expertise in uneven, cyclical rhythms -- the foundation of their trance-like art music, which is both subtle and ecstatic. Through repetition and improvisation in the studio they create "numbers" -- groove-based pieces played on a variety of drums mixed with electronics. This results in a precisely timed harmony between the electronic sounds and live grooves. Thanks to the extreme acoustic range of the Tombak and his extravagant technique, Mortazavi merges perfectly with Friedman's signature sound and repertoire, which seems to belong to no specific place or time.

"A new label from Hugo Mendez, co-founder of Sofrito! A series dedicated to cross-cultural experimentation, kicking off with this exhilarating dive into the African underground of 1980s Paris: a four-track EP from Congolese singer Albert Siassia, backed by a group of young French dreads, rechristened Tokobina -- "let's dance," in Lingala -- for the occasion. A mixture of post-punk, rumba, afro-disco and reggae, in two dancefloor sure-shots reviving their sole 12" from back in the day, plus previously unreleased fire from the same session. Ribbit."

"The latest release in Now-Again's Reserve series is Michael Cosmic's Peace In The World and Phill Musra Group's Creator Spaces, packaged as a triple CD featuring unreleased music by The Phill Musra Group and World's Experience Orchestra. Also includes extensive liner notes featuring rare photos and much more. Free improvisation, first touched on by messengers like John Coltrane, Sun Ra and Albert Ayler, gives us an exuberant maelstrom that rejoices in life while it shoves back at complex, unforgiving social-political environments. The '70s Boston underground brought twin brothers Phill Musra and Michael Cosmic together with Turkish-born drummer Hüseyin Ertunç; as a trio, and with other Boston jazzers (John Jamyll Jones of Worlds Experience Orchestra, the 2nd Now-Again Reserve Edition entry), the twins each privately issued an album. Potent mixes of spirituality, expressionist fire and electrified newness."

Double LP version. "Potent mixes of spirituality, expressionist fire and electrified newness, these LPs are presented as the 7th entry in the Now-Again Reserve Edition, mastered from the original tapes. Contains download card for .Wav files of the full release -- including bonus tracks by Phill Musra Group and World's Experience Orchestra -- and a booklet with extensive liner notes by jazz historian Clifford Allen, photos, show flyers and many other unpublished gems. In an homage to the original issues, both front and back cover feature hand-printed, pasted-on slicks."

"Paternoster, that UFO of a rock album released unceremoniously on a custom-pressed CBS Austria long player in 1972, is the stuff of legend. It's been known to the rock collecting elite since the 1980s, when it was first rediscovered, and it quickly became one of those rock records, the records you hear about only if you know someone who knows someone with a copy, much like Damon's Song of a Gypsy. Paternoster is a terrifying album, a collection of songs that traverses the sublime, and thus necessitates a bowel-loosening acceptance of beauty too complicated to merely admire, bowing under the weight of a tremendous atmosphere, accentuated by Gothic organs and scorching fuzz guitar, punctuated by wailing vocals detailing visceral, Bosch-like images, and carried by enveloping bass and syncopated, mixed-well-too-loud-and-thankfully-so drums. Includes download card for WAV files of the entire album and a digital version of the booklet with the story of this mysterious album, told for the first time, in English and German."

Once encountered, the exquisite, low-key charms of Craig Tattersall, Andrew Johnson, and Nicola Hodgkinson's band, Remote Viewer, leave an impression that lingers long after their records stop playing. A decade since departing with I Can't Believe It's Not Better (2008), Other Ideas recalls their lower case sound as you've never heard it, presenting ten previously unreleased songs drawn from minidiscs "before the last functioning MD player in Prestwich gave up the ghost", and pressed it to vinyl. Perhaps the greatest champions of drizzly, Lancastrian mood music ever known, Remote Viewer formed as a splinter group from Leeds-based Hood with their eponymous 1999 debut, taking the opportunity to pursue a fragile, downbeat strain of electronic song-craft and experimentation that quietly held steady against the grain of much electronica during that era. Over the course of four albums and four EPs, they addressed ambient pop music's barest essentials with a succinct blend of miserablism and refined, adroit technicality that they could safely call their own, and more or less sprang a whole scene of copycats in their wake. Us. In Happier Times is the Remote Viewer's typically ambiguous title for this collection; ten grainy and richly evocative pieces of haptic scrabble and jaded gestures as inviting as a warm brew and a two-bar heater on a piss wet night. It's the sound of glacial English valleys after-hours, finding them animating ambient embers and wilting pop hooks with clipped, Teutonic glitches, and subby pulses. The results form a curious and emotionally intelligent adjunct to then-contemporary dance or pop music, a sound best received on punctured sofas in small coffee shops and living rooms, one which will forever be reminiscent of wet mornings back at the turn of the century. With the flickering fizz of "Tonight It Feels Like Spain", you hear all three members in intimate dialogue, opening a session that variously takes in SND-like garage minimalism and what sounds like Muslimgauze fever-dreaming in two-step on "Complaining Of Feeling Unwell", or a pre-echo of autonomic D&B in the Arovane-esque nerve pinch of "The Sound Of Old Helmshore", whereas "This Old Face Dates Me" is like a prickly Arran to the suave, cashmere gentility of To Rococo Rot, and the crackling group harmonies of lullaby closer "When It Was Over" forms possibly the loveliest finale to any record you'll find in 2017. RIYL: Alva Noto and Ryuichi Sakamoto, To Rococo Rot, Hood. Mastered and cut by Matt Colton.

Pharaway Sounds present the first ever compilation dedicated to this groundbreaking Peruvian label, Discos Horóscopo. Founded by Juan Campos in 1977, the Discos Horóscopo label was the major outlet for the real Peruvian chicha sound: a surreal and irresistible blend of psychedelic fuzz-tone guitars, infectious echo-drenched vocals, electronic keyboards, and tropical/Andean rhythms. During its 15 years of existence, Discos Horóscopo was the home of the biggest names of the chicha sound, from the legendary Chacalón Y La Nueva Crema to Los Destellos, Los Ovnis, Grupo Alegría, all featured here. 11 tracks taken from rare 45s and LPs. Also features: Tongo Y Su Grupo Imaginación, Chacalón Y La Nueva Crema, La Mermelada, Grupo Maravilla, Pintura Roja, Los Shapis, Cuarteto Universal, Grupo Halley, and Grupo Celeste. Remastered sound; Color insert with detailed liner notes and photos."It was these groups that, as part of a cultural complex where Discos Horóscopo had a central role, built and developed the stage of 'chicha music', filling the lives of thousands of men and women who made us of their right to joy in a changing yet greatly convulsed environment that, nevertheless, offered opportunities to build a better life in the future." --Carlos Leyva Arroyo

The pachuco mambo is a Mexican-American craze dance music that alternated and combined Afro-American and Afro-Caribbean styles. Started in the late 1930s, Mexican-American youth, rejected by both Mexican and American society, invented a counterculture that expressed social tension through own language ("Caló"), fashion, culture, dances, and musical tastes, all exciting and untamed. The pachuco mambo exuberantly transformed the painful experience of Mexican-American fans who felt trapped in the midst of two cultures, and brought together the Chicano, Anglo, and African-American audience, laying the foundation for Chicano music. Main stars of the genre are featured in this collection: Don Tosti, a Mexican-American composer from Texas, who moved to Los Angeles as a teenager, and Lalo Guerrero, from Arizona. Both of them were pivotal and created Mexican blues jump, that is, the pachuco mambo or boogie, which used rhythms of swing, boogie woogie, and rumba with lyrics in Spanglish and in Caló, the Spanglish language of the Pachucos. Tosti's "Pachuco Boogie", recorded in 1948, was the first Latin song to sell a million records. Also features: Don Tosti Y Su Conjunto, Conjunto Alamo, Conjunto San Antonio Alegre, Don Tosti's Pachuco Boogie Boys, Don Tosti's Quartet, Don Tosti Y Su Trio, Jorge Cordoba, Los Chucos, Lalo Guerrero Y Sus Cinco Lobos , and Los Hermanos Yañez Y Pedro Ayala. Edition of 500.

Double LP version. Includes bonus tracks, download code, and signed photograph. HackedePicciotto are Alexander Hacke and Danielle de Picciotto. Both are legends of their own making: Danielle de Picciotto moved from New York to Berlin in 1987, to become the lead singer of the band Space Cowboys, co-initiator of the Love Parade, a collaborator of the Ocean Club with Gudrun Gut, and Alexander's partner in crime. Alexander Hacke is an original member and the bass player of Einstürzende Neubauten. The artist couple, romantically married in 2006, has creatively interacted with countless international projects for almost two decades. Their live shows are, to put it mildly, intense. Danielle specializes in unusual instruments such as the hurdy gurdy, the autoharp, and the kemençe besides playing the violin and piano; Alexander is master of the bass, guitar and drums. Together they create beautiful, existentialistic, acoustic soundscapes, which roar and vibrate simultaneously. Menetekel is darker than their last masterpiece Perseverantia (POTOMAK 125171, 2016). The title is another word for "the writing on the wall" and the artist couple is projecting our collective despair of what is happening worldwide momentarily into a monumental symphony of sound. "All Are Welcome" whispers in harmony but very quickly the shadows grow deeper and the mood becomes wilder, the trumpets sound and the fall of "Jericho" is eminent, or is it the exile from Paradise? Danielle and Alexander gave up their home in Berlin in 2010 and have been touring the world ever since trying to find a sanctuary comparable to the artist haven the city used to be in the eighties. But times have changed. The icy winds blowing are everywhere and thousands of homeless souls are wandering the roads, their personal search becoming a universal cry for deliverance. "The great rains have begun" Danielle exclaims on "Prophecy", a whirlwind of oriental and western sounds dancing with each other faster and faster until they are morphed into the minimal "Crossroad". The symbolic and spiritual questions asked supply an unusual depth to the album, giving it a universal and very poignant touch of the human quest.

"Introducing new London label Premature Recordings, founded by Ben Galyas, focussing on 'progressive electronic music'. Obuscule is the debut release from South London based artist, Thomas9000. Two tracks, produced in early 2017 using modular synthesizers and DIY recording techniques: the meandering 'Veolia', all hazy reverberation and distortion; and the industrial 'Droid', with defunct drum machines, screeching pads and twisted breakdowns."

Double LP version. Hi-quality art with gold print; Black polylined inner sleeves. After the slightly more conceptual Principe Del Norte album (2016), Prins Thomas's 5 takes two steps forward and one step back, collecting a batch of tracks that were recorded right after Principe Del Norte and in tandem with the Square One album with Bjørn Torske (2017). A "freedom" album of sorts, beyond the slightly misleading album opener "Here Comes The Band", there's a variety in these tracks tracing inspiration from a 35-year (unhealthy) obsession with all things "good music" played enthusiastically. 5 also marks the launch of Prins Thomas's new label, Prins Thomas Musikk. "Here Comes The Band" is very loosely inspired by Bandwagonesque-era Teenage Fanclub (1991). Melodic ideas were hummed into a handheld recorder and specific notes about instrumentation were scribbled down while on holiday in Villajoyosa in Spain and it turned into the little ditty "Villajoyosa". Thomas made "Bronchi Beat" in bed during a rough patch of bronchitis. Heavily influenced by prescription cough medicine. "?????" is partly inspired by a detour into the soundtrack of Prins Thomas's early teens (Paul Hardcastle, Warp 9, Maze, Mtume). "Æ" is another bronchitis-ridden idea. Slow and low is the tempo with a beat originally inspired by Brian Briggs's "AEO" and melodies beamed in from Wally Badarou. "Æ" is the Norwegian pronounciation of the "A" in acid referring to the 303 screeches. "Ø" gives you the impression Prins might be running out of ideas for track titles. "Lunga Strada" took Prins the longest to complete hence the "long road". "London Til Lisboa" was another idea from a trip on a plane with direction steered by Plaid and Pat Metheny. "Å" was initially the final track and then: Prins scrapped idea for the alphabet soup of Principe Del Norte. The track later evolved into what is here. "Venter på Torske" is the final recorded addition to the album. It was made while Prins was waiting for Bjørn Torske to reply on a text message... "Aske Hermansen" is probably as soppy as it gets with me. Prins made this on the road missing his wife and kids, literally putting tears into his computer keyboard.

The first single off of Prins Thomas's forthcoming Prins Thomas 5. This first single on the new label gets unveiled with "Å" remix by Pional. Plus there's an extended 12" version by Thomas. Thomas on "Å": "Initially the final track and then: scrapped idea for the alphabet soup of Principe del Norte (2016). Later evolved into what we have here. Comes with a really nice remix by Pional on a separate 12" here!"

"Red Rose for Gregory is an 11-track album by reggae artist, Gregory Isaacs released in 1988 by RAS Records. The album combines the style and sound of lovers rock with roots reggae and it features the hit, 'Rumours'."

Per Martinsen, AKA Mental Overdrive, is one of Norwegian dance music's founding fathers. Alongside friends such as Bjorn Torske, Biosphere, Rune Lindbaek, and DJ Strangefruit, Martinsen was integral in laying the foundations of Norway's now blossoming dance music scene during the late 1980s and early '90s. As a producer, he cut his teeth making house, techno, and hardcore at the turn of the '90s. Since then, Per has continued to produce and release quality electronic music, both under his Mental Overdrive alias, and as part of outfits such as Frost and Illumination. Per Martinsen on his new album Epilogue on Prins Thomas's Rett I Fletta: "As for Epilogue it has been quite long in the making compared to some of my other albums. The main reason for this I think is that when I and Thomas started talking about me doing a new release for Rett I Fletta, we agreed that I would just keep sending him tracks over time that I thought would fit a new album, and then discuss how we both could see it coming together. I also let Thomas have stems of all the tracks so he could do adjustments where he saw the need, instead of us talking back and forth in lengthy conversations and then sending new versions. As well as being a great selector he is also a great arranger, so giving him the freedom to collaborate like this was a great opportunity and a nice break from having to do absolutely everything myself. On some tracks he also added some production elements, especially in 'Hellbent', where my original version had a much heavier almost industrial vibe to it. Other tracks like 'Shimr', which was the last track I submitted to the album, are left much more like I mixed and arranged them to begin with. As for the sequence of tracks it's also Thomas' suggestion, and I think they fit very well in couples like this because the tracks were made over a longer timespan than usual, so you would have different phases where I was into different sounds and ideas. All tracks were done in my studio here in Tromsø. Some in the dark period and some with the midnight sun shining through the windows. There's a lot of contrast in my surroundings here so maybe those contrasts will surface in the work I do also." Includes download code.

LP version. "When R.I.P. came crawling out of the sewers of Portland, Oregon, last year, their grimy, sleazy street doom was already a fully formed monstrosity, quickly infecting the minds of everyone it encountered. Now, borne from the band's declining mental health and an increased focus on songwriting, Street Reaper is even more unhinged and menacing than their debut In The Wind (2016). Borrowing equally from '80s Rick Rubin productions and Murder Dog magazine aesthetics, this latest album is a streamlined yet brutally raw manifesto of heavy metal ferocity hearkening to the era when both metal and hip hop were reviled as the work of street thugs intent on destroying America's youth. Throughout, Angel Martinez's guitar and John Mullett's bass are inextricably interlocked like a massive sonic steamroller, while drummer Willie D keeps the beat solid and simple for the most powerful impact. Plus, the band's extensive touring and excessive virgin sacrifices have provided singer Fuzz evermore agile vocal chords to drive it all home with extreme precision. Operating on the belief that doom is not tied to a tuning or a time signature, but rather a raw and terrified feeling, R.I.P. eschews well-trodden fantasy and mysticism tropes of the genre and focuses on conveying the horror and chaos inherent in the everyday reality of the human mind."

The British DJ, producer, and label owner Ed Davenport (Infrastructure New York, Counterchange) is releasing a great mini-album including four club tracks and two interludes on the Siamese imprint, owned by the production and DJ duo known as Adriatique. The label on Davenport: "We are playing Ed's music for quite a long time now. Silver Walks on Maeve (MAEVE 008EP, 2016) might have been our favorite record of 2016. We never met in person though, until we played together at the Block in Tel Aviv this spring. We had a brief but nice conversation and stayed in contact after that. So the idea came up to do something together. The result is this wonderful mini album... four club tracks and two interludes, each creating different moments and vibes for the dancefloor. 'Festnetz' is Ed's vision of modern acid house; trippy, electronic, acid without a 303. 'Severance' is the late night tip for us. What depth this track has. It demonstrates the contrast between darkness and light perfectly! 'Rain' has been tried and tested several times at Panorama Bar and the Block Tel Aviv -- definitely a secret weapon for Ed and for us. 'Inner Senser' is the perfect sunset record, or also for the early morning. Beautiful, long and continuous... from heartache to euphoria!"

LP version. Includes download code. The debut album of Yeah But No -- the project for the duo of producer Douglas Greed and singer Fabian Kuss, who previously released on labels like BPitch Control, Noir, and Cocoon Records -- celebrates the energy of every change and the beauty of every new start. It also maps the melancholy hidden in synths and drum machines. The project of Berlin based musicians Douglas Greed and Fabian Kuss -- that has grown into a band -- tracks down the heaviness of breach and ending in rainy electronica. It celebrates the energy within every change and the beauty of a new start. With smart compositions the duo airily maps the melancholy hidden in synths and drum machines. Douglas Greed made a name for himself in the techno scene and recently released an album together with Mooryc with their mutual project Eating Snow. Meanwhile, Kuss gained experiences in all imaginable styles of music. The two met in 2013 when Greed was looking for a singer for his tracks. After one hundred gigs, as well as the release of a dozen of tracks together, both decided to let the project grow into a band and start writing tracks together.

Eight brand new Brainbombs songs recorded in the end of 2016. "... Well, while their guitar-bass-drums setup is at least as much 'rock' as 'noise' in its approach, at this point they are veterans in the annals of intemperate foulness. First assembling in the mid-80s, claiming frequently banned American writer Peter Sotos as their chief inspiration, the Swedish band went on to amass a catalogue of paeans to brutal psychopathy and the men who commit it, soundtracked by slurring, dizzy and utterly meat-fisted reductions of Stoogean proto-punk, heavy metal and accidental avant-garde. They almost never performed live, and the few Brainbombs interviews out there are terse and dismissive. There's almost nothing in their music that amounts to an ironic wink, or a layered Eminem-style disclaimer that Peter Råberg is just fuckin' with ya. All we can ascertain is that they still, after close on thirty years, still get something out of doing this, whereas (for example) William Bennett, Nick Cave and the various Geto Boys eventually moved on." --The Quietus

Buzzsaw Joint was born of a club offering Londoners the chance to revel in the sounds of good ol' trashy rock n' roll in all its vintage vinyl forms. Club top-cat, Fritz, then took the primitive buzzsaw sounds online with a series of savage Mixcloud mixes created by record fiends from all over the globe. Now, the high-octane energy of Buzzsaw Joint has manifested into the physical form with a run of compilations on Stag-O-Lee. Get your ears around the wild n' weird sounds of the extraordinary and inimitable Buzzsaw Joint! Cut 4 has been compiled by the Juke Joint crew, an international trio of music fanatics. These guys spend all their time (and money!) seeking out rare, weird, and wonderful original vinyl 45s. They don't mind getting dusty fingers digging up obscure sounds for their pleasure and yours. Not interested in glory, Juke Joint just wants to celebrate the artists who crafted these amazing moments in time. Their no-holds-barred approach to music appreciation puts them ahead of the curve when it comes to selection. Sixteen tracks recorded between 1953-1962. Cheers to the ears of Juke, Mr. Woods, and DJ Pelt! Features: Bailey's Nervous Kats, Bobby Towers, Jean Kassapian, Berlingeri and His Orchestra, Troy Talton, Cris Stamos, The Schulman Kids, Tito Rodriguez and his Orchestra, Hannah Dean, Jeri Southern, Yvonne Baker & The Sensations, The Drivers, The Hollywood Flames, The Stars Of Faith, Bobbie Bolden, and Maxine Harris.

All pieces of the Renaissance Repertoire come from Cancionero de Colombina (around 1470) or Cancionero de Palacio (around 1510). Both sources are well known for their typical Spanish repertoire of this period. Electronic music artist Sylvain Chauveau did new versions of several tracks and added also some drones to the program. Daniel Manhart did the compilation and the additional sound design and mixing. All pieces on this CD are hardly ever performed or recorded -- a fine, sensitive, interesting crossover between early music and contemporary electronic music with a repertoire mostly unknown. Sylvain Chauveau has made solo records on labels such as FatCat, Type, Les Disques du Soleil et de l'Acier, and Brocoli: very minimal compositions for acoustic instruments, electronics, and vocals. His music has been played in John Peel's show on the BBC and reviewed in The Wire, Pitchfork, Mojo, Les Inrockuptibles, Libération, The Washington Post, and many others. One of his tracks was published on the compilation XVI Reflections on Classical Music (2009) alongside pieces by Philip Glass, Gavin Bryars, and Ryuichi Sakamoto. He has played live around the world (Europe, America, Asia), performed in museums and art galleries, and was artist in residence at the Villa Kujoyama (Kyoto, 2011), Fundacao Serralves (Porto, 2011), and Lieu Unique (Nantes, 2004 and 2014). Chant 1450 Renaissance Ensemble sings and plays the sacred and secular repertoire of the 15th and 16th century. Including musicians trained at the widely renowned college for early music Schola cantorum in Basel, Switzerland, chant 1450 appeared live in January 2005 and then sang for a highly acclaimed first tour in Switzerland with La contenance angloise -- sacred music of the 15th century, followed by more than 150 live performances in Germany, Italy, Czech Republic, and Switzerland until today. Chant 1450 was invited to major festivals like the Rheingau Festival (Germany), the Montalbâne Festival (Germany), Festival for Early Music Zurich, and many more. Artistic Director and responsible for all programs and recordings, including sound design, is Daniel Manhart, a tenor born in Switzerland. CD comes in a digipack and includes a 12-page booklet.

Apichatpong Weerasethakul is recognized as one of the most original voices in contemporary cinema today. His seven feature films, short films, and installations have won him widespread international recognition and numerous awards, including the Cannes Palme d'Or in 2010 with Uncle Boonmee Who Can Recall His Past Lives. The compilation album Metaphors contains 14 sound works carefully selected from his past cinema and other visual works since 2003, which includes Uncle Boonmee Who Can Recall His Past Lives, Syndromes and a Century (2006), Fever Room (2016), and more. Weerasethakul has regularly worked with the same sound designers since 2003 and has always given importance to the personality of on-location sounds that give his films a sense of continuity. In post-production, he's fascinated by the manipulation of these "live" sounds in order to express "reality". This reality doesn't necessary represent the actual sound of the places, it's more of a representation of the world in layered memories. Similar to the way he treats images, Apichatpong sometimes calls attention to the physicality and the fragility of the audio (and its apparatus) and to the process of audio manipulation itself. In his cinema, Apichatpong prefers natural sound sources over music. Nevertheless, he often boldly incorporates popular songs that were persistent during the shooting. He doesn't shy away from using tunes that relate to his own personal memories. In this sense, Apichatpong values the spirit of authenticity much more than rigid manipulation of audio and weaves a complex and dreamlike soundscape in his cinematic repertoire. Born in Bangkok, Apichatpong grew up in Khon Kaen in north-eastern Thailand. He began making films and video shorts in 1994 and completed his first feature in 2000. He has also mounted exhibitions and installations in many countries since 1998 and is now recognized as a major international visual artist. His art prizes include the Sharjah Biennial Prize (2013) and the prestigious Prince Claus Award (2016). Lyrical and often fascinatingly mysterious, his film works are non-linear, dealing with memory and in subtle ways invoking personal politics and social issues. Metaphors is compiled by sound designers Akritchalerm Kalayanamitr and Koichi Shimizu. CD version comes in a digipak and includes a 16-page color booklet.

Double LP version. Includes color insert. Apichatpong Weerasethakul is recognized as one of the most original voices in contemporary cinema today. His seven feature films, short films, and installations have won him widespread international recognition and numerous awards, including the Cannes Palme d'Or in 2010 with Uncle Boonmee Who Can Recall His Past Lives. The compilation album Metaphors contains 14 sound works carefully selected from his past cinema and other visual works since 2003, which includes Uncle Boonmee Who Can Recall His Past Lives, Syndromes and a Century (2006), Fever Room (2016), and more. Weerasethakul has regularly worked with the same sound designers since 2003 and has always given importance to the personality of on-location sounds that give his films a sense of continuity. In post-production, he's fascinated by the manipulation of these "live" sounds in order to express "reality". This reality doesn't necessary represent the actual sound of the places, it's more of a representation of the world in layered memories. Similar to the way he treats images, Apichatpong sometimes calls attention to the physicality and the fragility of the audio (and its apparatus) and to the process of audio manipulation itself. In his cinema, Apichatpong prefers natural sound sources over music. Nevertheless, he often boldly incorporates popular songs that were persistent during the shooting. He doesn't shy away from using tunes that relate to his own personal memories. In this sense, Apichatpong values the spirit of authenticity much more than rigid manipulation of audio and weaves a complex and dreamlike soundscape in his cinematic repertoire. Born in Bangkok, Apichatpong grew up in Khon Kaen in north-eastern Thailand. He began making films and video shorts in 1994 and completed his first feature in 2000. He has also mounted exhibitions and installations in many countries since 1998 and is now recognized as a major international visual artist. His art prizes include the Sharjah Biennial Prize (2013) and the prestigious Prince Claus Award (2016). Lyrical and often fascinatingly mysterious, his film works are non-linear, dealing with memory and in subtle ways invoking personal politics and social issues. Metaphors is compiled by sound designers Akritchalerm Kalayanamitr and Koichi Shimizu.

SUOL head honchos Chopstick & Johnjon have gone back to basics with this offering. The four original tracks on their Momentum EP are the result of some extensive studio jam sessions. Featured vocalist CeCe Rogers asks "What Is House Music" on the EP's opening track with shuffling snares, crisp claps, and relentless kicks. Warm analog pads take the listener into "Salvation". "O-Negative" is centered around a big analog lead sound that morphs and modulates. "Catalisa" adds a layer of disco funk to the synth jam with its bass guitar sample and organ stabs that dance around a filtered vocal sample.

"'On Suicide's First Rehearsal Tapes, recorded in 1975, Alan Vega and Martin Rev create minimalist aural structures, traces of which would surface on their eponymous debut album, released on the Red Star label in late 1977. These songs are not a sketchpad of semi-formed ideas. The First Rehearsal Tapes comprise an audio diary of two men out in the ether, measuring themselves as evolving individual artists and as a unit who would rely on inseparability to realize their unique and often confrontational mass in the decades to come. What the tapes also reveal is that Vega and Rev were compositionally ambitious, capable of melody and form, while resisting definition as they headed further into uncharted territory. The First Rehearsal Tapes afford the listener a glimpse into the creative process of two groundbreaking, true art warriors with their swords and shields leaning against the practice room wall. To understand the absolute brilliance of Suicide's first album as well as their sonic adventures that followed, you have to start here with their earliest recordings.' --Henry Rollins (excerpt from the liner notes)"

"Philosopher, musician and anti-art activist, Henry Flynt has long foregone the academicism often associated with 'serious music' in favor of a uniquely intuitive, emotional approach to composition. In the 1960s and 1970s he was a part of NYC's vibrant avant-garde scene, studying with Hindustani singer Pandit Pran Nath and developing his own proprietary technique on violin. You Are My Everlovin', Flynt's first published musical work, finds the composer in peak form at a lower Manhattan loft in late spring 1981. Featuring solo electric violin and pre-recorded tambura, this sinuous performance elegantly brings together disparate vernaculars -- Southern blues, modal jazz, Appalachian fiddle, North Indian raga -- into a new and bracing whole. As Flynt writes in the liner notes, 'The electric violin timbre is crucial; it allows me to crush the diverse styles into a unity. I imagined the genre as open, radiant improvisation . . . an open plain that could absorb anything.' Incorporating themes and melodic phrases from his earlier work, Everlovin' becomes Flynt's own Gesamtkunstwerk -- a work that is at once rooted in and liberated by the drone, revealing the profound mutability and utter singularity of this American iconoclast."

LP version. Includes two full-sized inserts: Includes download code; Edition of 300. "After a concert of Kenyan singer Ogoya Nengo in Berlin in 2015 in a pleasant conversation Guillermo Lares told me about his father, Oswaldo Lares, a studied architect who, parallel with his professional activity, began to make field recordings of the traditional and indigenous Venezuelan music from the early 1960s onwards up until today. His search and fascination for finding the musical roots of his country led Oswaldo Lares to visit the rural villages outside Caracas, investigating the many and varied musical cultures of the region and the complex relationship between Venezuelan folk music and its various origins, including the African (mu´sica afrodescendiente). The vast amount of music documents in the form of sound recordings, photographs, and videos accompanied by notes and studies reflect the scope of this entirely self-taught sound engineer's work and represent a passionate documentary, making his work today one of the most comprehensive and systematic that has ever been assembled by a single person in Venezuela. Oswaldo Lares as an ethnomusicologist remained an amateur in the most direct meaning of the word: amare. Whereas most studied ethnomusicologists travel around the world to explore far away continents and foreign cultures, Oswaldo began to devote much of his spare time to the generally overlooked folk traditions that existed right in his very neighborhood. Currently, Guillermo Lares has started to promote his father's work through the Achivolares Foundation, turning it into a living archive that preserves an essential part of Venezuelan musical memory. It is a pleasure and honor of our label TAL to support the invaluable work of Oswaldo and Guillermo Lares with this album." --Stefan Schneider

Matti Bye has been best known as one of Sweden's most sought-after film composers, working on scores not only for contemporary, but also vintage silent movies. In 2014, he received two of the three nominations for Best Original Music Award at Sweden' Guldbaggen. He's recorded a number of solo works, too, not least 2010's Drömt and 2013's Bethanien. This Forgotten Land, produced by Joel Danell, offers a deeply atmospheric experience, steeped in nostalgia and yet thrillingly contemporary. Opener "Melt" indicates what's to come, with its muffled tones and subdued sense of foreboding. At other times -- such on "Underneath The Silence" -- one can hear the influence of Debussy. On "Absence", the creaking of Bye's keyboard pedals is intrinsic to the atmosphere of his rippling melody, while "Into The Haze" and "Cascading Sun" and "Empty Streets / Piano Street" reveal his affection for circus music and other archaic styles. Incongruous sounds, audible in the background, are essential to his compositions. When he was 20, Stockholm's celebrated Cinematheque contacted Bye about playing music for silent films. "Silent film music was like a blank spot on the music map, but I recognized the freedom I'd have as a musician, and the force of the poetry in these forgotten images." As his reputation spread, Bye recognized that he'd stumbled on a singularly romantic style. "I started out as a piano improviser," he says, "and suddenly I realized that I'm a composer." This Forgotten Land looks set to expand Bye's reach. Peculiarly otherworldly, serenely haunting, and utterly unforgettable, its melodies linger long after its conclusion, their atmosphere a magical mist. Out of time, but just in time, it confirms Matti Bye as a vital composer of visionary, cinematic scope.

The Stroppies self-titled debut. Originally released as a cassette in 2017 on the Hobbies Galore label. Starting out as a recording project between Angus Lord, Claudia Serfaty, and Stephanie Hughes, the germ of what would eventually become The Stroppies was formed around a kitchen table in Melbourne's inner west, early in 2016. The initial idea was to create open-ended music, collaged quickly and haphazardly together on a Tascam 4-track Portastudio that drew on stream-of-consciousness creativity and a DIY attitude a la Guided By Voices and The Great Unwashed. The desire to move beyond the pre-programmed drum patterns available on their Casio keyboard led to the addition of Rory Heane on drums and a more conventional band dynamic. In Late 2016, Alex Macfarlane recorded the band in their lounge room direct to 4-track, capturing seven songs that would become their 2017 self-titled cassette tape debut. The songs were bounced back-and-forth from tape machine to computer to tape machine to computer again. In keeping with the bands initial aesthetic, dubs were laid over a four month period incrementally on different devices as members had babies, explored intercontinental love affairs, and set up homes together. Since the release of the tape, Adam Hewwit has joined the group on third guitar as they settle down into exploring the new band dynamic and focus on their next recording project. The Stroppies is composed of members of many Melbourne and UK bands (Claudia is originally from London) including Dick Diver, Primetime, Possible Humans, White Walls, Boomgates, The Stevens, and See/Saw, to name a few. They make modest, idiosyncratic pop songs that reward with repeated listening. Edition of 200.

"Now-Again presents its third Oh No library offering: heavy hip hop based on samples from the Now-Again Catalog. Oh No's debut album for Now-Again was also the first in our music library series -- and was one of our most successful exercises in creating modern 'library music' for easy synchronization. For this, his third entry, Oh No combs through the vast array of Now-Again's catalog -- from American soul, funk and jazz to Zambian hard rock to Australian prog to Swedish psych -- create a series of beats that range in mood and style and all contain Oh No's trademark swagger. Fans of the variety of projects that Oh No is a part -- from his Gangrene project with Alchemist to his production for the likes of Jedi Mind Tricks, Action Bronson and Talib Kweli -- will be pleased with the variety of beats contained within. This limited edition is CD is packaged in a 'mini-LP' gatefold and is available in limited quantities. Once they're gone, they're gone."

Two voices, an upright bass, an e-guitar is all that Textor and Holger Renz need to create their very own minimal sound. Textor and Renz have listened to a lot of Johnny Cash and Hank Williams, but The Days Of Never also comprises the melancholy of Nick Drake, Neil Young, or Townes Van Zandt. Their music evokes the atmosphere of an Aki Kaurismäki movie. Strange, yet compelling. Includes CD.

More torrid tropic-o-Latin bombs! A collection of fast, hot, and intense Latin songs played by Cuban, Puerto Rican, Venezuelan, Mexican, and North American wild dance orchestras, recorded in the 1950s/1960s and originally released on vinyl and 78rpm shellac records. Savage bongos, volcanic trumpets, atomic rumbas, mambo inferno, and wild conga for a successful party of exotic ecstasy. Ultra-rare gems extracted from 45s and 78s records released in the 1950s and early 1960s by obscure record labels. Features: Hermanos Castro, Los Caciques, Los Cangaceiros, Don Barreto, Orquesta Ciudad Trujillo, Tony Toran, Chico O'Farrill, Humberto Morales, Alberto Zayas, and Trío Matamoros.

A collection of nine extremely beautiful gems from the 1930s, the best era of Cuban music, and one more explosive danceable track from 1947. Cuban son, pregón, rumba, and conga, played by the most exquisite orchestras of this period, Cuban artists who recorded their eternal masterpieces in Cuba, The United States, France and Spain. Most of the tracks appear on vinyl for the first time here. Extremely beautiful gems extracted from 78s records released during the 1930s and 1940s by Cuban artists. Features: Weeno, Bravo Y Gody, Orquesta De Óscar Calle, Trío Matamoros, Cuarteto Caney, Orquesta De Paulina Álvarez, Sexteto Columbia, Orquesta Chepín-Chovén, Orquesta De Lázaro Quintero, Orquesta Estrellas Cubanas, and Orquesta De Don Azpiazu.

One of the last remaining links to the heyday of R&B and funk, "Mr. Rhythm" is a pure living legend of black music. Andre Williams not only produced and wrote songs for folks like Ike Turner, Parliament/Funkadelic, Edwin Starr, and Stevie Wonder, and worked at seminal labels like Chess, Motown, and Fortune Records, but he also wrote and sang an enormous number of his own songs, cult classics like "Jail Bait", "Greasy Chicken", and "Bacon Fat". This release focuses on the earliest -- and dirtiest -- years of his five-decade-long career, compiling all of his singles from 1956-1957 for the legendary Fortune Records label.

Wax Love present a reissue of Bo Diddley & Company, originally released in 1962. Ellas McDaniel (aka Bo Diddley) was a true American original. He originated a rock beat that has been used by everyone from The Who, to Bruce Springsteen, to The Smiths, had a teenaged Marvin Gaye working as his valet, toured with The Clash, and was in a series of popular Nike commercials. Not to mention the fact that, oh yeah, he wrote and recorded some of the most important rock and roll music of the mid-20th century. And that guitar, that iconic guitar, is prominently featured on the cover of this classic 1962 LP. This is the first LP to feature his popular female rhythm guitarist sidekick, The Duchess, and while not featuring the chart-toppers of other releases, is a stunner of classic R&B influenced rock and roll that's essential for any Diddley fan.

The first part of XXX's limited edit series. Four obscure electronic edits pressed on a 12". Look out for the second part following later this year. Features JMII, Il Est Vilaine, Marvin & Guy, and SHMLSS.

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